Maya Process Portfolio

Initial photographs experimenting with leading lines, city structures such as staircases and camera angles

Some original artist inspiration. (Use of leading lines) Henri Cartier-Bresson, Hyères, France, 1932, Gelatin silver print photography, 20 x 30 cm

Practice sketches of running in motion.

Initiating a project

The texture caused by the graphite reflects the surfaces of the city landscape, walls and graffiti. This process helped me develop shading skills and improved my sense of proportions and space as I initially struggled with the details. When I finished the drawing of the moving woman walking in front of a tagged wall I realised that it captured the fast paced lives of those living in the city .

Work in progress, focus on woman in motion and graffiti on wall.

Original concept and ideas: When I first went to take pictures, I did not have a clear idea in mind, however through the process I found that I took interest in people within the city. I took many pictures of architecture as well as people moving within the urban space and I decided that I liked the theme of ‘Urban Movement’.

However after drawing my first piece of work, which was made with graphite, I decided I wanted to refine my ideas and focus on more the actual ‘people’ present in my first pictures.

Artist source: “Hyères, France 1932.” Metmuseum.org, The Metropolitan Museum of Art, www.metmuseum.org/art/coll ection/search/286639.

Developing ideas for a clay sculpture

I thought of different elements I would be able to implement using clay and sketched out some ideas that would blend the human face with architecture. After experimenting with detailing I encountered difficulties since some of my ideas would not stick to my clay figure.

Inspired by my previous work including modern architecture, I wanted to experiment with 3D work and create a sculpture, that would incorporate this with facial structures as I was more interested in working with human figures and emotion.

Here you can see me experiment with different details, I had the idea of adding balcony railings to the face like a necklace or like jaws but these would be too intricate and delicate to create properly in sculpture. I also thought of implementing architecture by using tiles, gargoyles and Haussmann (parisian) architecture.

Gargoyles would have expressive faces (linking to my focus on emotions) and some have flat backs as they are present on buildings.

After many ideas I decided to narrow my focus on architecture to windows and doors. I then decided I wanted to try experimenting with modroc to create moulds of faces from which I could create masks. I therefore began to create a series of masks, whilst implementing windows and doors. Masks hide one’s true self, relating to how in our fast paced lives, us humans can hide behind fake emotions. On the other hand windows and doors allow is to see inside someone, it is the opposite which I found ironic.

I made a mould of my subject’s face and was able to learn how to handle modroc. Making this mould would allow me make the same sculpture multiple times. This process was difficult since I wanted to capture the details and curves of the face but had to apply different layers of modroc to support more fragile parts of the mould.

After thinking about my plan and concept for this piece I thought that the elements of the masks, the combination of the windows and doors with the face, had surrealist elements to this. I was able to further learn about surrealist features from artists such as RenĂŠ Magritte and Jess Riva Cooper.

An eye through a window

Study of Surrealism What was surrealism and its purpose?

-It was a 20th century avant-garde movement in art and literature - Aim: to release the creative potential of the unknowing world.

Introduction - My focus: people, emotions in a city setting - Use of moulds to make masks - Implementing windows and doors seemed to fit the surreal style, which is why I chose to study Magritte and Cooper

René Magritte (1898-1967)

Context & Cultural Significance - During WWII and Germany’s occupation of Belgium, Magritte began to question his convictions and turn to surrealism. Most of Magritte’s paintings are like puzzles that cause an enigma with the viewer.

Rene Magritte, Man in a Bowler Hat, 1964, oil on canvas, 64 X 48 cm

- Surrealism made viewers look a things in a different way, making people search for a meaning in art, which is why Magritte used it: so that viewers became more active in looking, searching.

- His work challenged viewers’ perception of reality and described and reflected current situations at the time Rene Magritte, Golconda, 1953, oil on canvas, 81 cm × 100 cm

Rene Magritte, The Son Of Man, 1946, oil on canvas, 116 cm × 89 cm

Analysis of Formal Qualities - Colours are also used effectively to highlight the subject, the red tie, green apple and warm toned skin really make the man stand out and the vibrant colours of the green apple draw attention to the face which amplifies the viewer’s curiosity.

- The colours in the background are colder and duller blues and greys creating a clear contrast between the foreground and background.

- Texture is also used effectively, the smooth folds and wrinkles of the coat, the shiny apple, the ‘rough’ wall the cloudy sky and the calm sea, make the painting visually interesting.

- The sea and sky, one being smooth and flat and the other more layered (with clouds), both seem washed out, like water colours. Their dull colour and soft texture are heavily juxtaposed with the dark and smooth surface of the man’s coat, which has intense shadows where the folds are.

- This contrast makes the man to stand out and leaves the painting not too crowded

Analysis of formal functions - Harry Torczyner a friend of Magritte commissioned a self-portrait of the artist himself. Magritte found it hard to paint himself and described the challenge as a "problem of conscience”. The face of the man is therefore hidden by a green apple with four leaves, - Magritte used this to discuss the human desire see what's hidden behind the visible.

- It evokes Christian symbols because of the title ‘Son of A Man’ and the use of an apple being reminiscent of the Garden of Eden.

This fits into his use of surrealism as his painting is open to interpretation and allows people to theorise what its meaning might be.

Jess Riva Cooper

Context & Cultural Context Cooper’s goal was to include myths of the Dybbuk in Yiddish folklore and she incorporates this through a ‘female lens’.

The Dybbuk is ‘malicious processing spirit believed to be the dislocate soul of a dead person’. Cooper’s surreal style also explores real life situations in a more modern and current setting; she stated ‘I also investigate fallen economic and environmental climates Jess Riva Cooper, Autumn, Ceramic, in cities where houses have become feral, glaze, decal, over-glaze, 28 cm x 21 x disappearing behind ivy, trees and Kudzu 46 vines that were planted generations ago.’

Cooper sees parallels between plant life and Dybbuk spirits and uses sculptures to address environmental issues. She likes to use collective experiences and various cultural backgrounds in her work to grow her knowledge of the art world. She therefore uses surrealism to explore open-ended ideas with different approaches. Her approach is different from Magritte’s, her intentions are meant to be a lot more obvious and surrealism is not what she necessarily intends to convey all the time. She also likes to portray her art through sculptures, not paintings unlike Magritte.

Jess Riva Cooper, Early Spring, ceramic, glaze,

Analysis of Formal Qualities - The sculpture ‘Early Spring’ merges a human bust with natural and organic drawings and decorative leaf sculptures.

- The face or skin itself is smooth and shiny, making it seem ‘perfect’, which is the opposite of what a human is.

- The skin is also a plain white, reflecting how all humans are born the same: a blank slate.

- The smooth texture and white colours prevents the face from being to distracting, allowing the colourful leaves to stand out and be noticed.

- The leaves have relief on the head, creating a change in texture from the round face.

- The unorganised arrangement of the leaves and their different shapes and sizes create a sense of chaos and disorder, as if the plants are invading or taking over the human.

- The green, blue and brown of the leaves all add on to the organic theme of the sculpture with the pink and purple of the flower standing out on the neck.

Materials Magritte uses oil on canvas to convey a surreal painting with a smooth texture (even brush strokes) and realistic portrayal of decal, over-glaze, lustre, 28 cm x 21 cm x 46 cm subjects. The smoothness of the coat and the washed out sky Analysis of Formal Functions heighten the unrealistic and surreal effect of the painting, further Cooper aims to address environmental and global issues in her work, she does this by making its meaning a mystery. On the other hand Cooper works with ceramics and uses white glaze to give involving mythology, as well as vegetation and flowers. Plants seem to be growing out of the skin a polished and airbrushed effect, reminded us of how unlike the sculpture humans are not perfect. the head of the sculptures, conveying the growth of plants and nature’s relation with humankind. One may look at this and think of humans effect on the Earth, how we Opposing the perfect skin, Cooper uses a multitude of leaves that create a contrast between chaos and order. destroy it and do not care enough for it. A bit like the Dybbuk in Yiddish folklore, we may Cooper said herself that her work integrated ‘colour, drawing, and clay to create sculptures and be malicious spirits to the Earth. installation-based artworks.’

‘In my sculptures, the world sprouts plant matter. Colour and form burst forth from quiet gardens and bring chaos to ordered spaces. Nature undergoes a reclamation process by creeping over structures, subverting past states and creating a preternatural transformation.’ - Jess Riva Cooper (http://www.jessrivacooper.com/) Jess Riva Cooper, White Gold, ceramic, glaze, decal, over-glaze, lustre, 28 cm x 21 cm x 46cm

Similarities & Differences Whilst Magritte likes to focus on mystery and intends on puzzling viewers and uses oil on canvas, Cooper’s goal is to explore economic and environmental issues as well as folklore in her work and works with clay and sculpture. ‘The Son of A Man’ was painted in 1964, whilst Cooper’s sculpture from her ‘Viral Series III’ was made in 2015 and therefore both have different purposes and messages to convey due to temporal context. However both artist work with surrealism and contain elements of nature, an apple and foliage.

Again apples, trees and leaves can all be linked to Adam and Eve, Christianism and sin; sin can relate to the horrors occurring in WWII Magritte’s time or environmental issues in Cooper’s time. Both enjoy working in series. Magritte works a lot with bowler hats, symbolising the everyday business man, and apples.

Cooper has made many white sculptures with the same style.

Extract of clay mask

Rene Magritte, The Son Of Man, 1946, oil on canvas, 116 cm × 89 cm

I wanted to create a piece that would make viewers think about what mask they may wear everyday because, no matter how subtle, everyone feels a need to change for others.

Connecting to own art One of the main elements being taken from these two artists is that of surrealism.

However instead of merging man with nature, I will do it with architecture; this conveys humans’ relationship with a fast developing world and industry. I will also be doing a series of three masks all revolving around doorways and windows, allowing viewers to literally ‘see inside someone’. During the creation of the piece I encountered difficulties handling the medium, however I was able to learn how to use modroc to create moulds and how to create detailing with clay to make ceramics.

Concept sketch

Initial mask sketches experimenting with masks conveying different extreme emotions Sources for Study of Realism: •Mann, Jon. “What Is Surrealism?” Artsy, Artsy, 23 Sept. 2016, •Modern Art, The Museum of Modern Art, www.moma.org/artists/3692.

•“Rene Magritte and His Paintings.” Rene Magritte: 100 Famous Paintings •Analysis, Complete Works, & Bio, www.renemagritte.org/.

•Jain, Avani. “How to Look at the Painting : ‘The Son of Man’ by René •Magritte.” Medium, Medium, 8 Nov. 2018.

•“Jess Riva Cooper.” Jess Riva Cooper, www.jessrivacooper.com/.

Jess Riva Cooper, Early Spring, ceramic, glaze, decal, over-glaze, lustre, 28 cm x 21cm x 46 cm

Brainstorming for Etching

Photographs taken for inspiration and reference, experimenting with expression and emotion

Different textured sketched

Original concept and ideas: This time I wanted to focus my work’s purpose around the struggles of women in today’s society in the medium of drypoint etching. I thought about what the world seems to think about “What it means to be a woman” and how the media and male gaze assign unfair expectations and pressures.

My initial process in developing ideas included taking pictures for reference. After this I had to think of how I was going to portray my theme. I experimented by sketching to determine what style I would like to achieve through etching. I chose the image of the girl resting her head since her expression looks heavy exhausted and I wanted to emphasise this. I then had to think about how the texture of etching would affect the final piece.

Käthe Kollwitz, Self-Portrait, Hand at the Forehead, 1910, Etching and drypoint, 33 x 25 cm

Practicing rough line sketches with pen

Drypoint Etching: After determining what image i wanted to use for my etching and its style, I decided I wanted to enforce my theme by the use of words. I was inspired by words that often plague the actions of women and that hold negative connotations. I thought this would be fitting for an etching as the words are literally scratched onto the skin of the subject, like a label she has no choice but to wear. Through the etching process, that requires scratching into a plastic sheet before covering it ink to transfer on paper, I learned how pressure and line work contributes to shading. I had to think about how I wanted to create a contrast in light in dark and how the inscribed words would appear on the face.

Source for artist: “Käthe Kollwitz. Self-Portrait, Hand at the Forehead (Selbstbildnis Mit Der Hand an Der Stirn). 1910, Published c. 1946/1948: MoMA.” The Museum of Modern Art, The Museum of Modern Art, www.moma.org/collection/ works/65145.

Developing Ideas for Mixed Media Piece

Eyes sketches: The window to the soul that sees through all masks and lies.

Through my initial photographs I wanted to criticize how women are often expected to smile. It is assumed that the act of smiling proposes a kind and friendly appearance, or simply just “looks pretty.,” even if the smile is manufactured, demanded.

Tape measure: symbolizes this generation’s obsession with weight. It strangles and ties us up; indicating how it controls our mind and perception of society and looks.

For this new piece I wanted to continue on the theme of femininity and wanted to convey how social media and the word influences girls and fuel mental illness contributing to insecurities. Many young girls feel pressured to act and look a certain way leading to a lack of self-esteem: one cannot be happy with oneself when constantly comparing it. This is the direction and range of emotions I wanted to portray in my initial brainstorm photographs and sketches, I also wanted to infuse a sense of anger, since I want this piece to be critical. Through the initial planning stages I was able to choose a photograph for reference I made the decision that I wanted my piece to incorporate bold colour and defiance.

Edvard Munch, The Scream, 1893, Oil, tempera, pastel and crayon on cardboard, 91 cm × 74 cm

Neuroticism: When a person experiences the world as distressing, threatening & unsafe.

Source for artist: The Scream, 1893 by Edvard Munch, www.edvardmunch.org/the-scream.jsp.

Experimenting with composition and colour

After my initial planning stages I wanted to make a protest piece tackling social presumptions of female behaviour, in this case the act of smiling. To make it stand out I decided to use bold colours and simplified features by manipulating the initial image on Photoshop. I tried out different colour and decided that warmer toned orange and yellow would be more striking and fitting. For the construction of the piece i created a 3D layered piece made from foam board but first practiced this on a small scale using paper. Using a knife to cut out the layers was difficult because it ripped however this taught me how to pay attention and care to the detailed curves of the facial features. The composition would also implement words used to address women negatively and I wanted to implement measuring tape as handcuffs to symbolise the hold body expectations has on the mind.

Barbara Kruger

Experimenting with Kruger’s style on my photos.

Introduction For my project I decided to look at the image of the woman, more precisely I chose to focus on the pressure, expectations and stereotypes put on and assigned to women in society. I decided to select Kruger’s artwork as she also makes use of words in her exploration of media, feminism and stereotypes.

Context & Cultural Significance Kruger is often associated with the Pictures Generation and feminist postmodern artists, showing an interest in symbolic imagery with references to mass media. She was born in 1945 and during the time of her upbringing there was a shift and rebirth in the feminist movement the content of her work, which often aims to address cultural constructions of sexuality, identity and power. Through the use of media effects she is also able to address the world concerning stereotypes and society’s belief regarding notions on gender roles. Her work became evocative of feminist movements.

Analysis of formal functions Kruger created Untitled (Your body is a battleground) with the function of serving as a poster for the pro-choice Women’s March on Washington on April 9, 1989, that supported reproductive freedom. This was extremely relevant to the feminist movement as it was a fight for women’s control not only over their bodies, but on the political decisions involving them.

Barbara Kruger, Untitled (Your body is a battleground), 1989, photographic silkscreen on vinyl, (284 x 284 cm)

Analysis of Formal Qualities Composition: The image is cropped so that the viewer can only see the face of the viewer and the composition highlights the position of her eyes, gazing straight ahead, alluding to defiance.

Negative and Positive: A line harshly bisects her face into a negative and positive image, the two halves represent the twofold argument at hand: pro or anti abortion.

Symmetry and Line: Even though the poster’s words focus on the “body,” the linear construct of the poster draws attention to the face, meant to represent the “perfect” icon of beauty. The face is symmetrical, with full lips and well defined eyebrows, each side of the face a perfect reflection. This alludes to societies construct of women and the stereotypes assigned to their appearance.

Use of Words and Colour: The phrase “Your body is a battleground.” Is another reference to how the fight is not only a political battle, the campaign occurs outside her body, but affects her internally. The female body becomes a battleground with an inward and outward struggle. The message is brought to the viewer’s attention because of the contrasting red colour vibrantly alined against the black and white background, it stands out and would allow it to be seen in a demonstration. Kruger’s classic red words are also a reference to media’s treatment of women, it brands the woman’s face as if she is a product, further dehumanising her.

Materials Kruger’s work usually uses altered found images, or ones she invented, paired with bold text with the goal of challenging viewers and communicating ideas such as consumerism and feminism. She usually uses a computer to develop her work and eventually it is transferred into images, which can be billboard size as they are often social messages disguised as adverts.

Connecting to own art:. I was mostly inspired with Kruger’s composition and the position of the model.

Like her I wanted my work to have an air of defiance, and therefore the eyes of my subject are also looking straight ahead, challenging the viewer. This is because eyes represent perspective, and both pieces ask the viewer to try and understand a woman’s. I incorporated the symmetry present in all three pieces: Kruger’s perfectly mirrored face criticizing beauty standards. My piece’s symmetry places the subject in the centre with both hands forcing an uncomfortable smile.

Sources: •“Untitled (Your Body Is a Battleground).” Barbara Kruger | The Broad, The Broad •Kim, Adela H. “The Harvard Crimson.” Your Body Is a Battleground | Arts, The Harvard Crimson, 9 Apr. 2014 •Stoefell, Kat. “Barbara Kruger Forever.” The Cut, New York Media LLC, 2 Feb. 2018 •Shneiderman, Dee. “Feminism During the 1940s.” The Classroom | Empowering Students in Their College Journey, Leaf Group, 10 Aug. 2018

Cindy Sherman’s photography often speaks to femininity and in this photograph I find a sense of peace yet also a timidness as she covers her body.

Brainstorming for Ideas for Painting

Cindy Sherman, Untitled #93, 1981, Photography, 61 × 122 cm

Watercolour sketch highlighting the imperfection of the makeup

Vulnerability: The media encourages certain body types and attitudes. In these images I wanted portray vulnerability. The makeup, or mask, is smudged representing the imperfections we try to hide in public

Space

Pablo Picasso, The Blue Room, 1901, Oil on Canvas, 51 × 70 cm

New Project: I began brainstorming for the creation of a new piece and I decided I wanted to explore a less aggressive and rebellious emotion than my previous work. I began searching for inspiration through photography and I was drawn to the calmness of vulnerability and isolation that the model was portraying. I thought that this was also relevant to today’s climate since the presence of social media and beauty expectations often causes self-consciousness.

Through the photos and sketches I accumulated I was drawn to those with wide spaces, notably how the model lies on a wide bed.

Sources: Magazine cover :“The Complete Vogue Archive.” Vogue, Vogue, 2001

Picasso: “THE BLUE ROOM.” The Phillips Collection, The Phillips Collection

Isolation: In my photos I wanted to capture loneliness and isolation. These photographs reminded me of Picasso’s Blue Room where he depicted depression through use of cold colours and by isolating the subject.

Sherman:“Untitled #93.” The Art Institute of Chicago, Contemporary Art.

Experimentation and Inspiration

I continued my planning process through experimentation and studying the different styles of artists to think about composition and texture.

Exploring Artists

Edward Hopper, Morning Sun, 1952, oil on a canvas, 102 x 72 cm

-Use of light and shadows -Established setting -Medium Detail

Bed sheets and texture

Freud often paints nudes on beds and always places his subjects in a setting, often a bedroom.

I would aim to explore his: -Use of setting (bedroom) -Neutral colour palette -Texture of bed sheets

Lucian Freud, Night Portrait, 1985 - 1986, oil on canvas, 76 x 93 cm Experimenting with fabric and sheets

I wanted to explore more symbolic installation work as well. I was interested in Ermin’s work conceptually, which ignored society’s expectations of women and aimed to portray the truthful and intimate setting of a woman’s bed, as well as women’s hidden emotions.

Tracey Emin, My Bed, 1998, Box frame, mattress, linens, pillows and various objects

Artist Sources: “Morning Sun, 1952

by Edward Hopper.”

Edward Hopper Paintings, Biography, and Quotes, www.edwardhopper. net/morning-sun.jsp.

“Night Portrait by Lucien Freud: History, Analysis & Facts.”

Arthive, Arthive, arthive.com/lucianfre ud/works/288527~Ni ght_portrait.

Tate. “'My Bed', Tracey Emin, 1998.”

Tate, Tate, www.tate.org.uk/art/ artworks/emin-my-b ed-l03662.

‘Cut-out Filter’

After deciding on what I wanted to paint and exploring the styles of different artists, I wanted to experiment with colours and textures I could use in the painting. First I used Photoshop to look at how different textures or styles of painting could be achieved. I tried using two different filters, the first 5 tests were done with the ‘Cutout’ filter, where I manipulated the layers, the last 2 images were achieved with the ‘Palette Knife Filter.’I then manipulated colour by altering the image’s hue and saturation. By doing this I could see the image with a colourful and vibrant colour scheme, as compared to a more neutral and muted one.

‘Palette Knife Filter.’

I wanted to try skin toned and neutral toned paints in a simple style, so I carried out a quick painting sketch of a portrait to experiment with acrylic paint application.

After experimenting my intention was then to use a neutral colour scheme with a more simplified texture

Investigation of Realism and Melancholy in Caulfield’s Work Introduction: For my critical investigation I decided to study Patrick Caulfield’s famously bold artwork and his painting After Lunch. I found his themes to be inspiring and related to my field of study as Caulfield’s art objective was to portray solitude, human absence and melancholy.

Cultural Context: Patrick Joseph Caulfield was an English printmaker and painter in 1936.

Caulfield was raised during World War II, in which came a new conception of colour with the digitalisation of colour in art. Commercial paint would create more artificial and industrial colours, which heavily merged with the subject matter of Caulfield’s paintings and fuelled his use of more impure or non realistic colours and sharp details that would become his signature style.

In 1964 an exhibition at the New Generation show at London's Whitechapel Gallery, associated him with pop artists. The movement emerged in the late 50s and was heavily influenced by incorporating mass culture and media, incorporating harsher lines, and flatter and more vibrant colours. It aimed to reach a wider audience and remove the boundaries of higher class art.

Caulfield is often associated with artists David Hockney, Derek Boshier and Allen Jones, third wave British pop artists who shared a feeling of rejection to abstract and expressionist art.

Furthermore Caulfield drew from the lighting, loneliness and poetry of American painter Edward Hopper’s work and incorporated elements in his contemporary portrayal of British life.

Patrick Caulfield, After Lunch, 1975, Acrylic paint on canvas, 249 x 213 cm

Edward Hopper, Morning Sun, 1952, oil on a canvas, 101.98 x 71.5 cm

Themes: Caulfield’s work was prompted by pictorial everyday life scenes and was a reaction against Abstract Expressionism's nonrepresentational art. He was known for portraying urban life and imagery, and still life. However this imagery is paired with feelings of absence and solitude, which stemmed from the empty settings of his paintings seen in pieces such as Forecourt. For example the viewer is challenged with glasses of whiskey or wine without drinkers like in Wine Glasses, cafés without diners and guests, or offices without workers, which evoked an eerie and bleak atmosphere, entrancing viewers.

Patrick Caulfield, Wine Glasses, 1969, Screenprint on paper, 36 x 31 cm

Patrick Caulfield, Forecourt, 1975, Acrylic on canvas, 259 x 202 cm

Formal Qualities: Setting: Caulfield’s paintings view the world with an alternative lens, After Lunch combined different styles of representation, blending more realist details in a simplified setting. A photo mural of the Château de Chillon hanging in a restaurant is portrayed with high-focus realism, contrasting with the cartoon-like black-outlined imagery and fields of saturated colour of its surroundings. The fish-tank by the mural mixes the more lifelike image with the restaurant’s setting, creating unity. However the blending of the two styles also evokes uneasy and ambiguous sentiments, reinforcing the themes of isolation.

This uneasy theme is usually enforced by the lack of human figures, however human presence is still felt. In After Lunch, a figure can be noticed off centre, yet he blends with his surroundings, showing the emotions of a waiter resting after his shift. This creates an ironic, vivid and concrete tone, the painting is sharp and clear which is juxtaposed with the bleak and isolated atmosphere.

Lines and colour: After Lunch is figurative and simplified, he uses black lines to depict shapes and figures, usually everyday objects of the interior, and these remove superfluous detail. These black outlines are paired flat areas of simple colour, all dominated by a single hue of blue, amplifying feelings of melancholy. On the other hand the more vibrant greens in the more realistic mural feels more alive, creating contrasting and ambivalent sentiments. The flat colours and perspective make the painting tridimensional, allowing viewers to immerse themselves into the restaurant and further comprehend the feelings of loneliness.

Lights: A sense of mystery and poetry is exaggerated with the use of lighting as it refracted and shattered in the interior, creating two different blue tones. The dark lighting is penetrated by a beam of light, representing the atmosphere of the closed restaurant, a usually lively place devoid of life and action.

Materials: Caulfield uses acrylic paint to mix the simplified and raw restaurant setting painted with heavy black outlines, The brush strokes are even to create flat colour, which allows After Lunch to feel pleasant, clean and bright, He said "I didn't like misty brush-strokes and atmospheric painting.”

Andy Warhol, Untitled (Marilyn), 1967, Screenprint on paper, Image: 91 x 91 cm

Link between my work: I found that conceptually the subject of isolation is one that fitted into my interpretation of the female form as my piece aims to depict loneliness, vulnerability and objectification.

In terms of formal qualities his pieces were heavily influential as I decided I wanted to translate his unique pop art style into aspects of my painting. His settings and paintings were simplified, as he outlined his paintings with his trademark black lines paired with plain colour fields. I decided to draw from his less detailed style of painting as it emits more raw and honest emotions, and I was also drawn in by the large scale of his work and how he varies the realism in his pieces.

Roy Lichtenstein, Drowning Girl, 1963, oil and synthetic polymer paint on canvas, 172 cm × 170 cm

Comparisons with other artists: Caulfield did not want to be associated to a movement or formality. Unlike pop artists Warhol, Lichtenstein, Oldenburg, and Rosenquist who turned common objects, such as Campbell soup cans into cultural icons, his pictures combine levels of illustrative expression found pictorial, everyday settings. His images focused on a singular intensity and aimed to convey social, political, and artistic images.

Sources: • Burn, Gordon. “Gordon Burn Pays Tribute to Artist Patrick Caulfield.” The Guardian, Guardian News and Media, 21 Jan. 2006, https://www.theguardian.com/artanddesign/2006/jan/21/art1.

•McGrath, Sandra. “‘Hangovers and Gunfighters.’” The Australian , 19 Feb. 1980, http://www.johnhoyland.com/hangovers-and-gunfighters-by-sandra-mcgrath/.

•“PATRICK CAULFIELD RETROSPECTIVE.” Visit Visual Arts, British Council , http://visualarts.britishcouncil.org/exhibitions/exhibition/patrick-caulfield-retrospective-1999.

•“Patrick Caulfield: A Strange, Closed-Off World.” Discover Goldmark, Discover Goldmark, 11 Apr. 2017, https://discover.goldmarkart.com/patrick-caulfield/.

•Tate. “'After Lunch', Patrick Caulfield, 1975.” Tate, Tate Britain , Nov. 2016, https://www.tate.org.uk/art/artworks/caulfield-after-lunch-t02033.

Dimensions: 210 x 105 cm I wanted to amplify the idea of space by using a large scale

Initial black pen outline on the canvas of he painting

Before beginning the process of painting I created copies of my black and white drawing, and tested out the image using different colours and placements. Through this process I was able to figure out which colours would suit the piece conceptually and visibly and which placements would highlight the composition.

Experimental sketches to determine colour scheme

For this first test I realised that painting the walls and background brings the image forward, destroying its depth. I therefore decided to keep the focus of the colour in the centre. Leaving the colour solely on the bed would reinforce the isolated atmosphere. The bed would become an island and the subject would be stranded, melancholic.

For my piece I wanted to explore my subject’s feelings of vulnerability. I am working with black ink lines on a large canvas that emphasizes space, and therefore a feeling of emptiness. My next step was therefore to experiment with colour schemes and placement.

The abundant use of blue on the bed sheets surrounding the subject adds a cold tone to the painting. This adds to the atmosphere of sadness and depression that surrounds the subject. In contrast I wanted to use a brighter pink for her hair to symbolise her thoughts or her dreams to be happier. For the pillows and her shirt, which is the centre of the piece, I wanted to use warmer tones to contrast with the blue. This would create more of a balance within the piece

Orange

Light Blue Orange / Red / Pink Dark Red or Pink Dark Blue Light Aqua Blue

2 1 I started the piece with a pencil drawing which I turned into a pen line drawing, since I knew I was going to use both pen ink and paint for this piece I had to experiments with pens that were insoluble.

When I first began the painting process with acrylic paint I did not know which method of application I would want to use and what texture I wanted to achieve. I first started with a dilute wash of neutral colour with lots of water to see whether this would allow me to cast an opaque layer of paint which would not cover the pen lines. However I found this technique to be too unpredictable and hard to control and so I decided to use thicker layers of paint.

I began with a pen line drawing and then painted over top, this helped me decide how I would later shade the piece

3 I looked at deep and rich tones of red and pink to create a vibrant tones for the hair which would be the focus point of the piece.

4 I played with different shades of blue that would be used for the sheets and the jeans of the subject and ones that would be used for shadows and highlights.

Through my initial brainstorm faze I decided I wanted to mix the abstract style of the pen line drawing with a more realistic style of painting, therefore I made the texture more life like with shading and highlighting, This can be seen in the detailing of the sheets and jeans, as the fabric folds creating a lot of creases and shadows.

Exploring ideas for print

Sketches to experiment with facial expressions

Artist Inspiration

Stress

Straight faced

Chosen photographs for series of 3 prints

I began to look at the work of various artists in the medium. I found that I was interested in the various textures and techniques artist Beth Berriman was able to achieve with the ink.

For this next piece I wanted to refocus onto a subject in a smaller scale. I wanted a more direct and simple composition and so I began taking some photographs of various female models to try and develop different emotions and ideas. I then carried out a few rough sketches to determine what style I liked and to further build on the theme of emotion conveyed through facial expressions. I was inspired by the line drawing of my previous piece and therefore I wanted to work with monoprinting and ink as a medium. With this material I would be able to experiment with the darkness and intensity of the ink, as well as how to create light shading.

After brainstorming I chose 3 photographs to create a series of different prints. I wanted this piece to encapsulate human feelings by using different colours, layering and textures. Overall I wanted viewers to aim to try to understand the subjects’ thoughts and feelings.

Seated Boy, Beth Berrimen

Mystery

Anger or Mania

I began to try out the technique with my chosen image, the ink is placed on the picture and then transferred onto paper. I began to try black ink but I chose red as I believed that the passionate colour would effectively contrast with the subjects calm and distant expression. I also wanted to see how the image would translate in another colour other than black.

Sources: “Beth Berriman.” Arts and Crafts In Cornwall, Artists in Cornwall, 6 Sept. 2016,

The technique consists of laying ink on the back of the image and then drawing on top of it to transfer to new paper.

Black background created by transferring black ink from a newspaper to paper

Yellow texture created with a roller.

Before I began my series of monoprints I wanted to experiment with the medium with different tools and ways of applying the ink. I tried creating different textures by using newspaper, rollers and pencils to create scribbles. I also wanted to try layering different coloured inks to achieve a background for the portraits. Through trial and error I learnt that I could incorporate ink stains or avoid them by not applying ink to certain areas or using stencils.

Extracts from final portraits that show different application and layering techniques.

My first try with blue monoprint. I wanted to play with lines and shading so I chose to transfer a portrait I had already drawn myself that consisted of curves and line.

Mixing different colours and textures using rollers and pens to transfer ink.

Overlaying black ink onto red ink in background

Colour and Emotion: I decided I wanted to focus on sadness for this portrait but I wanted to amplify this by using colour instead of neutral skin tones. After changing colours on Photoshop I decided on cool tone blue for the painting as this directly evokes sadness and a surrealist aspect to the portrait/

I wanted to incorporate floral imagery to create a contrast between beauty and sadness, to comment on the anguished induced by societal expectations of beauty and poise.

Eyes and emotion sketches

Lily: Devotion Sunflower: Adoration Rose: Love, beauty Tulip: True love I decided I wanted to paint a close-up portrait and so I studied facial expressions to determine what emotion I wanted.

Orchid: Fertility

Daisy: Purity, Innocence

Flower sketches to experiment with symbolism

For this project I decided to focus on an up close portrait, since this would really convey emotion to viewers on an larger, overwhelming scale. I wanted to translate a sentiment of melancholy and sadness to viewers and chose to reinforce this by using a non-realist style of colour and painting the portrait in blue tones. To bring an element of discussion to the piece I decided I wanted to use floral symbolism as a contrast to the portrait and a critic to female stereotypes.

Proportions: I wanted the portrait to be a large extreme close-up with direct eye contact as I thought that this would make the emotion come to life in a way that would surprise and loom over viewers. I was inspired by Chuck Close’s overwhelmingly large paintings and how they tower over viewers.

Bloodshot pink eyes were chosen to create a stark contrast with the blue skin and connection to the pink/red rose. The large eyes, that seem to have been crying, stare directly at viewers, forcing them to react and feel.

After the brainstorming process I was able to develop my composition for the painting. I decided on a solemn blue face of a woman, her mouth covered by a pink tinged rose. I chose a rose since it is so often associated with beauty and grace. I wanted to subvert that beauty into something harmful and restricting, a symbol of “what a woman should be” that ends up suffocating her.

Chuck Close, Arne, 1999-2000, Oil on Canvas, 259 x 213 cm

Photo reference and sketch for realised painting

Rose: Love, Beauty, pink and red tones contrast with blue Extract from piece

Placement of rose: In this piece the rose personifies female stereotypes. I wanted it to cover the mouth as I find that this represents how restrictive these can be and can prevent oneself from expressing themselves without judgement.

Artist Source: “Arne: Centre Pompidou.” L'œuvre Arne Centre Pompidou, www.centrepompidou.fr/cpv/r esource/cj7XbjG/ryo9BA.